January 2010

Network
The West Midlands Regional Newsle�er
www.makingmusic.org.uk/westmidlands

Page
IN THIS ISSUE
2 Birmingham’s ArtsFest 2009
New MMWM Member
3 Midland Festival Chorus
Requiem performance
Sing!
Another opportunity beckons to join with
others in singing a major work, like these
participants in last February’s workshop,
conducted by Simon Halsey.

4 Young Phoenix
GB fretted Rally

Photo: Colin Butterworth

5 Ludlow New Voices

6 Round the Region

7 Ross Primary Schools’

Choral Festival

8 An Abundance of
Anniversaries

9 JP at large MM West Midlands is organising a

10 JP at large (continued)
11 Obituary - Gill Miller
Last paper Network
WORKSHOP
to be held in September/October. It will
comprise three rehearsals, followed by a
performance. The work is Puccini’s

12 RDO’s column
Messa di Gloria
Contacts
Conductor and rehearsal leader:
DEADLINE RICHARD LAING
Next Network deadline Orchestra:
Leamington Chamber Orchestra
APRIL 15 Rehearsals: Bromsgrove
The last paper copy of Performance: Kidderminster Town Hall
Network
Details/application forms have been circulated
(see p 11) with this issue of Network and the Concert Diary.
 ARTSFEST - 11/12 Sept 2009
Blessed with good weather in mid-
September, Birmingham’s Artsfest 2009 was
a crowded hurdy-gurdy of performance and
demonstration – a splendid showcase for
the astonishing range of artistic activity
in the West Midlands. There was even a
sandy ‘beach’, complete with deckchairs,
in Chamberlain Square, where customers
could recline, listen to the performers on
an adjacent stage, and imagine…
Any group wishing to take part in Artsfest
has to provide a performance. MMWM’s
performance was provided by The Park
Ensemble from Stoke Park, Coventry. They
are a woodwind quartet - flute, oboe,
clarinet and bassoon - which includes our
former Chairman, Malcolm Rowson. They
performed on Saturday, at lunchtime, in
the Industrial Hall of the Art Gallery. Their
programme, which included arrangements
of Champagne Polka, Smoke Gets in Your
Eyes, A Nightingale Sang in Berkeley Square
and The Teddy Bears’ Picnic, was very well
received indeed.
Those of us manning the MM stall in
New Street were pleased to find that its
appearance attracted attention. Some
people were plain curious about MM;
most were pleased to find that, through
our website, they could find a convenient
orchestra/choir to join; some wanted
instrumental tuition (not something we
can offer, but a good sign); several parents
wanted to know of choirs/orchestras
for the young. That, surely, is most
encouraging. It may reflect the influence
of the £10m provided by the Government,
through Howard Goodall, the composer, to
promote singing in primary schools.
At a MM conference in London last
September, Howard Goodall claimed
considerable success for the Government
scheme, but he posed a challenging
question. What is the point of enthusing
primary school children, if secondary
schools are not provided with the extra
Page 2
funds to support that enthusiasm as
children move through the system?
On the lighter side, two of us were given
some apparently well-meant, polite advice
by a drunk. I confess, I didn’t understand
a word. A lapsed bass player stopped for
a chat. He professed a desire to resume
playing. The uncharitable thought occurred
to me, that such a portly frame would
make even approaching the instrument
quite a challenge. We were all nonplussed
when an enquirer made it plain that he had
taken Network to be the name of a Rock
group!
Sincerest congratulations to the
organisers of Artsfest. To collate all
those venues and performers was a
remarkable achievement.
Brian Jones
NEW MEMBER GROUP
A new member of
Making Music West Midlands is
Blue 21 Big Band
WELCOME!
“There is one great similarity between
music and cricket - there are slow
movements in both.”
Neville Cardus
Sir Thomas Beecham (to an orchestra):
“Forget about bars. Look at the phrases,
please. Remember that bars are only the
boxes in which the music is packed.”
 MFC’s Finest
On Saturday 10th October 2009, the MIDLAND FESTIVAL CHORUS gave a performance of Verdi’s
Requiem in Worcester Cathedral. The Cathedral bells were tolled prior to the start of the concert.
Preparation
From the first peal at 6.15 pm, I knew we were
in for something special. The bells set the all-
important atmosphere. It stayed there until the
final note had been heard at 9.00 pm. Here was
real drama - honestly and deeply-felt drama.
Putting it bluntly, this was the finest perform-
ance we have ever given. Of course, lots knew
the piece, but it seemed to me that singers
(most of them, at any rate!) had absorbed so
much of what I wanted, that unanimity was
much easier to achieve.
From the opening, spine-tingling Requiem ae-
ternam to the blazing Dies irae, and onwards to
the sparkling Sanctus...it was all there - com-
mitment, energy, precision, enthusiasm - and a
determination to do the very best possible.
We knew the basses were incredible, but the
altos also shone this year, something I’ve not
been able to say for a long time. The tenors
produed a most convincing, blended sound, and
coped with their exposed passages with flair and
confidence: bravo to them. It was so heartening
to see so many sopranos really trying their best,
responding to my pleas to raise their cheeks and
focus on improving those flat vowels. But we
still had one or two singers, who don’t quite un-
derstand what I’m after! Out of a section of over
ninety, all it needs is five or six to pull the sound
down. Nevertheless, to keep a proper perspec-
tive, all you need to do is to listen to some of
our so-called finest choirs on CDs or the radio, to
appreciate that they, too, have their problems.
The Bournemouth Symphony Orchestra was won-
derful. We never had anything other than
Photos: Piers Smith-Cresswell
Performance
full administrative support before the day, and
on the day itself. I felt the same as we worked
together. They responded to every nuance. I had
a lovely rapport with key players.
The success of a performance of the Requiem
depends so much on the soloists, and this year,
in Janice Watson, Catherine Wynn-Rogers,
Meirion Rees and Quentin Hayes, we had a super
team.
Next year, our 36th, it will be the Te Deums of
Bruckner and Kodaly, with the English Symphony
Orchestra.
Malcolm Goldring, Musical Director MFC
‘Over the years, I have heard countless per-
formances of the Verdi Requiem, but no ac-
count of this unique work has moved me more
than Saturday’s, by the Midand Festival Chorus
and the Bournemouth Symphony Orchestra -
urgent, impeccably balanced and totally involv-
ing, under Malcolm Goldring’s musical direction.
This was an emotional journey, which both har-
rowed and consoled. There was drama galore,
but desperate supplication too, the huge choir
projecting with magnificent clarity and imme-
diacy in this difficult acoustic.
Goldring was able to flight swift tempi for
complex fugal textures, but also trusted the
intonation of his choristers in sustained, lightly-
accompanied passages. The MFC, and the way
it is organised, should be an object lesson to
every such group in the country, and much of its
success is surely down to Goldring’s expertise.’
Christopher Morley
(reproduced with kind permission of the Birmingham Post)
Page 3
 Young Phoenix
In 2006, to celebrate the 25th anniversary of the adult choir, THE PHOENIX SINGERS, LEEK, it
was decided to start a children’s choir, as there was no singing available for local children,
other than in school.
Help was given in the form of a grant from Youth Music, Staffordshire County Council Per-
forming Arts Department, and support from Making Music.
Rather than just advertising in the local press, we went round local schools, and invited
them to a whole day workshop. About 50 children came, and about half continued to attend
rehearsals, and became YOUNG PHOENIX.
The aim of the Choir is to learn to sing and perform
songs from different styles and eras, as well as the
techniques of singing.
Since the launch, the Choir have sung in a wide range of
venues, including the Victoria Hall, Hanley, where they
took part in a schools’ concert, Staffordshire Sings, and
also provided entertainment at the Douglas McMillan
Light up a Life Christmas event. They have also taken
part in a Radio Stoke recording with The Phoenix Sing-
ers, as well as in performances in Leek venues. The
growing confidence of the singers has been reflected in
some high quality performances.
To attract new members, we continue to have workshops at the primary schools. At present,
the Choir numbers 36. We hope to continue growing, and, maybe, start a group for pre-
school to seven year-olds. Ellie Elsdon

Get Fretted! - BRITISH BANJO/ MANDOLIN/ GUITAR RALLY

Plans for the next Rally are well under way. The event, which is being held over the weekend
of 5th - 7th March 2010, will be hosted by the MIDLANDS FRETTED ORCHESTRA at Edgbaston
High School for Girls, Westbourne Rd, Birmingham.

The Rally attracts musicians, passionate about fretted instruments, from all over the UK. The
Friday night will feature a concert by world-famous finger-picking guitarist, Gordon Giltrap.
Tickets are now available from 0121 422 7884. On Saturday 6th March, workshops will cover
slide guitar, finger-picking guitar, classical guitar, plectrum banjo, zither-banjo, bluegrass
banjo, classical mandolin, jazz mandolin, folk mandolin and mandola. There will be a host
of well known names at the rally, including Gordon Giltrap, Craig Ogden, Howard Shepherd,
Frances Taylor, and members of the City of Birmingham Symphony Orchestra.
There will be opportunities to interact with other players in workshops, such as Bluegrass,
Blues, British Folk, Latin, Duet Coaching, Composing for Fretted Instrument Ensembles,
Lutherie, Instrument Care/Set Up, and Mass Senior Orchestra. There will also be an
opportunity for players from fretted youth ensembles to take part in a day of workshops,
culminating in a performance by the massed fretted youth orchestras. There are still places
available for ensembles to take part. Please contact Danielle Saxon Reeves (daniellesaxonre
eves@yahoo.co.uk/ 01384 893 987). On the Saturday night, a dinner, at the Apollo Hotel on
Hagley Road, will be followed by an open stage event, and a ceilidh with Witchhazel Family
Band.
The Sunday of the rally will provide an opportunity for fretted instrumentalists to take part
in competitive music-making, with contests held for soloists, small ensembles and fretted
orchestras, who are all competing for historic trophies belonging to the Federation.
The full syllabus booklet, with all details of the weekend and a booking form, is available to
download from www.banjomandolinguitar.org Danielle Saxon Reeves

Page 4
 LUDLOW NEW VOICES..The Youth Choir of The Marches
To mark its 150th anniversary, and to try
to encourage more young people to take
part in choral singing, LUDLOW CHORAL
SOCIETY (LCS) decided to establish a youth
choir in the area for youngsters between
9 and 16. After a vigorous publicity and
recruitment campaign by our project team,
LUDLOW NEW VOICES (LNV) was launched
in June 2008. With Alison Houlbrooke as our
first Music Director, we began with a very
healthy number of young people, and lots
of enthusiasm.
LNV is open to all, whatever their musical
ability, experience or family circumstances.
The fees are modest, and we offer help
with transport for those living in remoter
areas to get to rehearsals, workshops and
performances.
We have some
Photos: Sandie Johnson
high profile
support. Our
first two patrons
are Bryn Terfel
and Howard
Goodall. LNV’s
President is
Philip Dunne, our local MP. We have support
from LCS members, community groups and
local councils. We are also indebted to
members of Kidderminster Choral Society,
Wyre Forest Young Voices and to Shropshire
County Music Service for their advice and
encouragement.
We applied for various national and local
grants, and were very fortunate in gaining
a substantial Youth Music grant for the
setting up and launching of the choir. We
sought sponsorship from local organisations,
and secured several substantial donations.
We are so grateful to everyone who has
funded us to date. Since July 2008 LNV have
rehearsed weekly in term-time. We have
joined LCS in three concerts and performed
two concerts on our own. Four workshops
have been held. We also joined forces with
St Laurence’s Church, Ludlow, to perform
a new, locally-written Mystery Play, David
and Goliath. In June 2009, LNV performed
sections, specially written for young
voices, in a new work, In Praise of Music,
commissioned by the LCS from their Music
Director, Patrick Larley, to celebrate the
150th anniversary of LCS.
Like many new ventures, we have had
our ups and downs. Numbers had dropped
significantly since the initial “high”, and
we asked Patrick Larley to take the choir
forward in its next stage of development.
Then came our biggest challenge yet - to
join with LCS in the demanding Benjamin
Britten cantata, St Nicolas. Quite a
challenge for a nascent choir. Could our
group of singers cope with the musical
culture shock in nine rehearsals? Was this
a step too far, too
soon? Opinions
were divided.
With a tremendous
effort, the small,
but remarkable,
group of singers
rose to the
occasion, stepped
up a level vocally, and did themselves
proud. Their confidence and energy at the
performance was an amazing result of hard
work by everyone, the skill of their MD, and
a lot of support from parents! They will look
back on an exciting, dramatic, high quality
performance of a work from our national
musical heritage. It was completely new to
them, but they are able to say, “I helped to
make that concert the success it was”.
Over the coming months, we shall be
singing some completely different
music. We hope and expect to see the
standard of individual and group-singing
develop, leading to ever-improving vocal
performances, and a widening of musical
experience. In the new year, our project
team will embark on a second round
of recruitment workshops in our local
schools, and, as a result, we look forward
to more young people seeking to join the
choir to experience and enjoy one of the
most worthwhile and enjoyable activities
available.
Our dream of creating ‘ The youth choir of
The Marches ‘ is becoming a reality.
Sandie Johnson : Chairman of LUDLOW NEW VOICES
Page 5
 ROUND the REGION
At our autumn concert in the Town Hall, at the
end of November, KIDDERMINSTER CHORAL
SOCIETY performed, most fittingly in this, the
composer’s 200th anniversary year, Haydn’s great
oratorio, The Creation.
We had a fine trio of soloists in Catherine
Fish (soprano), Ben Thapa (tenor) and Marcus
Farnsworth (baritone). Marcus Huxley (organ)
and The Elgar Sinfonia provided excellent
accompaniment, as always.
Haydn’s music is endlessly inventive, and never
more so than in this work. The orchestral word-
painting is superb, and the sheer strength of
the choruses is really impressive - they are a joy
to sing. The three soloists, all with big voices,
sang powerfully or sensitively, as required,
in solo arias and in ensemble. There is much
of the bel canto here and some wonderful
coloratura passages, especially for the soprano.
One wonders whether Haydn might have been
accounted a great opera composer too, had he
been served with the superb plots and librettos
of a Beaumarchais or a Da Ponte, as was
Mozart.
The concert was well attended - always, of
course, heartening to see - and the audience
applause at the end was enthusiastic and
prolonged. Our conductor Geoffrey Weaver
is to be congratulated on an outstanding
performance.
Peter Knott
Birmingham Town Hall was the venue for
BIRMINGHAM FESTIVAL CHORAL SOCIETY’S
performance of Handel’s Israel in Egypt, on
October 25th 2009. Although the choir and
audience enjoyed this piece, praise was not
universal. BFCS had not sung this work in full
for over 100 years. The critic, quoted below,
thought Israel in Egypt not worthy of revival.
Despite that he wrote:
“The BFCS, under their Music Director, Patrick
Larley, must be commended for their honest
endeavour, untiring effort, and ability to get
to grips with some very demanding vocal work.
At their best, as in I Will Exalt Him and the
extended finale The Lord Shall Reign For Ever
and Ever, they produced a truly rousing sound.”
The work has limited solo work, so is a ‘big
sing’ for the chorus. Among the soloists, David
Allsopp, counter tenor, was outstanding.
The ESO Chamber Orchestra provided a most
effective accompaniment.
This earlier-than-usual autumn concert enabled
BFCS to prepare more than the standard carols
for its charity concert in aid of The Royal
Page 6
National Lifeboat Institution, on 6th December.
Over £1,400 was raised from a concert, which
included Finzi’s In Terra Pax and Vaughan
Williams’ Fantasia on Christmas Carols, and the
Central England Ensemble.
As I write, we are looking forward to singing
under Jonathan Cohen again, in Birmingham
Symphony Hall, on 23rd December – an annual
event for BFCS now.
Brian Dickens
Two distinct sorts of adventurous repertoire
are: new music (which need not have the
‘squeaky gates’ of the avant-garde to be novel),
and old music, which has arguably been unjustly
neglected. BIRMINGHAM CHORAL UNION
champions more than a fair quota of both of
these categories. Their 2010 schedule illustrates
this beautifully.
Stanford is justly praised for his contribution
to Anglican church music, but how many of us
have even heard of his Requiem ? The Requiem
was composed for the Birmingham Triennial
Festival of 1897, on an appropriately grand
scale, running for some 80 minutes. At a time
when western classical music was developing
along several radical paths, Stanford’s self-
imposed harmonic discipline led to the piece
being neglected as too conservative. A pity,
because what Stanford achieves is quite magical
in many passages. These are particularly telling,
because the listener is not distracted by fugal
writing, which dominated the repertoire then.
This piece is largely homophonic.
Why not let BCU ‘test drive’ it for you at
Birmingham’s Adrian Boult Hall, on Saturday
27th March, at 7.30 pm ?
Sir Philip Ledger’s Requiem is not neglected,
as it is barely 2 years-old. It forms part of
the Choir’s June concert. It is subtitled, A
Thanksgiving for Life, and is inspired by an
increasing tendency for us to bid farewell to
loved ones with a Thanksgiving service, rather
than the conventional Funeral. The result is
more akin to the gentler Fauré approach, than
the hellfire of Verdi. Ledger uses a device most
famously applied by Britten in his War Requiem,
when he infused war poetry into the liturgy.
Ledger uses the mystical poetry of Thomas
Traherne, which celebrates the glories of God’s
creation. Despite the newness of this music, its
Gates of Heaven are very well oiled, and never
‘squeak’.
Ted Froggatt
 Celebrating Song - in Ross-on-Wye
ROSS PRIMARY SCHOOLS’ CHOIR FESTIVAL 17th JUNE 2009
For the second year running, St. Mary’s
Church, Ross-on-Wye, was crammed to
capacity as 170 children from seven schools
came together to celebrate singing.
Photo: Alan Wood
The afternoon’s activities were led by
Amy Bebbington, an experienced vocal
animateur and choral director, who
specialises in working with children, and
also trains teachers. Representatives from
local schools had attended a workshop,
led by Amy, on the Tuesday afternoon - an
enlightening and enjoyable experience,
designed to support the continued
development of singing in our local primary
schools.
The afternoon began with amusing vocal
warm-ups, before the children got to work,
putting the finishing touches to a prepared
piece, which they had been working on
in their individual schools. Amy’s skilful
teaching enabled the children to learn two
additional new pieces during the afternoon.
By 3.30pm, the church was filled with
an expectant audience of parents, staff
and invited guests. Bridstow opened the
concert with Suo Gan, a lullaby sung in
Welsh, followed by two Scottish partner
songs, Mary Mack and Furrem be me heen
(the latter in Gaelic). The choir from
Lea gave a sensitive rendition of Can you
hear?, followed by a rousing performance
of We are one from Brampton Abbotts.
Walford brought cheer to a rainy afternoon
with I can see clearly now, and Ashfield
performed a blues version of Hey diddle
diddle. Weston sang about the beauty of
The moon of Mamaku,
and Gorsley gave us a
spirited performance
of The Lord is my
Shepherd. The Voice
Squad brought the
individual performances
to a close with Janie
mama, a traditional
calypso melody, sung in
a round from the four
corners of the church,
and the inspirational
ballad, Believe.
As the massed choirs
arranged themselves
on the staging, the
audience was given the good news that
they were also expected to take part in
the performance, and were given the
responsibility of having their own song to
sing, (with no help from the children!),
as part of a gospel medley. The whole
choir at this stage consisted of around 400
voices. The choir then took the audience
on a journey through Space, complete
with actions and sound effects. Their
attentiveness to Amy’s directions was
impressive and, following every gesture,
they produced a magnificent sound,
supported skilfully by accompanist Alan
Durman.
The final piece of the afternoon was called
Best Friend. The themes of friendship
and moving on were particularly poignant,
as many of the children were nearing the
end of their time at primary school. This
was not lost on them or the audience, and
resulted in a very moving and emotional
performance.
The Festival Committee would like to acknowledge
the generous financial support received from The
Ernest Cook Trust, the Elmley Small Grants Arts Fund
and Ross Town Council. Fiona Turner
Page 7
 An Abundance of Anniversaries
On October 5th 2009, WOMBOURNE &
DISTRICT CHORAL SOCIETY hosted a
workshop to celebrate their 80th Anniversary,
and invited singers from around the district.
The workshop was held in St Leonard’s
Church, Bridgnorth, the site of which dates
back to Saxon times. The present building is
mostly Victorian, and now is rarely used for
worship, but is maintained by the Churches’
Conservation Trust (CCT). For its 40th
Anniversary, the CCT had invited 40 choirs to
put on Birthday Song events in 40 churches
nationwide.
The Choir, in the capable hands of Ian
Clarke, Wombourne & District Choral
Society’s Conductor, began by learning
a calypso round and, when reasonably
acquainted, we processed, carnival fashion,
round St. Leonard’s church – the spectacle
of which one cannot imagine having been
seen in all the church’s long history.
Having warmed up, we began to get to grips
with Haydn’s Insanae et Vanae Curae,
chosen because this year is the 200th
Anniversary of Haydn’s death. This work,
unknown to many of us, proved to be a most
rewarding piece to learn and sing.
2009 is also Purcell’s 350th birthday, and he
gave us, among his glorious church music,
O God, Thou Art My God. The hymn tune,
Westminster Abbey, is taken from this work,
and must be among the best. It is simple and
yet profound, no matter which words one
sings to it. In this work, we sing Hallelujah,
and the passage concludes this lovely music.
Mendelssohn was born 200 years ago, and
among the treasures he left us is Hear My
Prayer, with O For the Wings of a Dove.
Beth Howells, our soloist, brought added
exhilaration to the performance with her
young, pure voice soaring into the roof of St.
Leonard’s above the choir, doing real justice
to this well-known piece.
Handel died 250 years ago, and the
Page 8
workshop explored Zadok the Priest. The
organ introduction, played by Mark Pescott,
gave us the same tension one gets in
orchestral performances, setting the scene
for the piercing entry of the choir and the
later indulgence of running semi-quaver
Amens. This Coronation Anthem has been
sung at coronations since 1727.
We finally sang Parry’s Jerusalem, chosen by
public vote for inclusion at every Birthday
Song event over the weekend.
The workshop concluded with a concert
performance, which was well received by
the audience and enjoyed by a delighted
choir.
It was a day to remember, singing some of
the finest church music ever written,
and the success was in no small way due to
the efforts of Anthony Rathbone and the
CCT for offering us the use of St Leonard’s.
We were also very grateful to have our
professional accompanist, Mark Pescott.
We really appreciated Ian Clarke, who, in
addition to his professional musicianship, has
a really relaxed manner and a great sense of
humour, which made the day so enjoyable.
He also has the rare gift of making the
choir aware of the essence of the music,
and drawing out from us, amateur choir
members, the will to sing really well and give
one hundred percent of whatever limited
ability we have.
We hope to host a further workshop. I am
already looking forward to it.
Sheila Barnfather
Sir Thomas Beecham:
“Good music is that which penetrates
the ear with facility and quits the
memory with difficulty.”
 JP at large...
Jim Page has been out and about in the region
John Rutter, Karl Jenkins and Howard
Goodall are composers who have
struck a real chord with today’s choral
singers, because they write music that
communicates immediately and directly. In
Bromsgrove’s Artrix, BARNT GREEN CHORAL
SOCIETY (BGCS) put on an evening devoted
solely to their work, which both audience
and choir thoroughly enjoyed. The choir
was in good voice, and the increase in their
numbers, about 75 on the platform, since I
last heard them, was heartening.
There was an excellent chamber orchestra,
which was alert and responsive, but
particularly so in Rutter’s charming Suite
Antique. Emma Hill was the agile and full-
toned solo flute, and the easy charm of
this piece, with its catchy Ostinato, gay
waltz and chirpy Rondeau, epitomised the
composer’s fluent melodic style.
The main work in the concert was Karl
Jenkins’ Requiem, which, although it
proved an enjoyable work, did not seem
to reach the same level of inspiration as
The Armed Man, which BGCS performed
last year. Its mixing of the Latin text of
the mass, representing the West, with the
Japanese haiku, representing the East, is
an interesting idea, and resulted in a work
that was full of stirring melody and unusual
energetic rhythms. Leading both choir and
orchestra with a clear beat, conductor
Steven Cowperthwaite brought out the best
from his forces.
CHANDOS SYMPHONY ORCHESTRA was
again in fine form on 15th November in
Malvern Theatres. Conducting the orchestra
for the first time, Alice Farnham opened
with Wagner’s masterly Tannhäuser
overture, which was played with the
utmost virtuosity and conviction. Her
reading vividly captured the mood of
the piece. The string tone was rich, the
brass mellow, and the sensuousness of the
drunken revels of the Bacchantes arresting.
After this wonderful opening, the riches
became even greater in Shostakovich’s
haunting, but essentially lyrical, Second
Cello Concerto. Unlike the First Concerto,
the Second has never established itself in
the regular repertoire, but, in the hands
of the masterly David Cohen, its eloquence
and beauty shone through. David brought
out the smiling melancholy of the piece,
and eloquently expressed the composer’s
troubled thoughts. The orchestra’s playing
was nothing short of brilliant, with a
succession of tricky solos carried off with
panache. The concert concluded with
Rachmaninov’s First Symphony, where Alice
Farnham’s rapport with Russian music was
again impressive. There was real poetic
vision here, and with the large orchestra
responding with sonority and precise
articulation, a genuinely tragic and heroic
performance resulted.
LICHFIELD CATHEDRAL SPECIAL CHOIR
celebrated its 50th anniversary with a
commission from Paul Spicer. The première
of the resulting Advent Oratorio took
place in the Cathedral. The Cathedral was
packed, and with a well-raked choir of
about 120 and an alert St Chad’s Camerata,
full justice was done to this impressive
work. Central to the piece are well-known
audience/congregation hymns, and,
after tuition before the performance by
conductor Philip Scriven, the singing was
both lusty and musical.
The text is by the Bishop of Durham, Tom
Wright, who co-operated with Paul Spicer
in their Easter Oratorio, commissioned by
the Lichfield Special Choir to celebrate
the Millennium. The Advent Oratorio
draws on a variety of biblical sources, but
has a colloquial feel about it, and Paul
Spicer’s direct musical language made
this a work, which all could grasp at first
hearing. Among the soloists, William Berger
was outstanding, but Natalie Clifton-
Taylor and Ed Lyon also gave committed
performances, which delivered the text
with impressive clarity. The Special Choir
sang with well-focused, immediate tone,
and the sopranos’ descant in the four big
hymns was nothing short of spine-tingling.
Page 9
Philip Scriven controlled these large forces,
which included the bright-voiced Lichfield
Cathedral Choristers, with authority.
John Rutter’s music is performed frequently,
and his Gloria is one of his best works.
BROMSGROVE CHORAL SOCIETY chose it as
the main piece in their December concert,
which otherwise consisted mainly of carols,
and brass music. Its thrilling opening (very
resonant of Walton’s splendid writing for
brass) was so brilliantly played by Holborne
Brass that the Choir struggled to match
their attack and precise intonation. But
the central elegiac section went well, and,
steered with spirit by conductor, Simon
Bertram, the closing Amen was positively
exultant. When commissioning this piece,
the conductor of a mid-west American
choir asked for something “short, sharp and
festive”. That is certainly what he and a
good-sized audience in All Saints’ Church
got!
Another imaginatively planned and finely-
played programme from the SINFONIA of
BIRMINGHAM, in the CBSO Centre on 8th
November, delighted all present. 1945
may have been the link between Strauss’s
Oboe Concerto and Shostakovich’s Ninth
Symphony, but the styles and situations
of both composers were in stark contrast
to each other. Rainer Gibbons, the CBSO’s
principal oboist, brought out all the mellow
autumnal glow of Strauss’s Concerto, and
his inspired playing made the listener
quite unaware of the formidable technical
demands of this lovely concerto. Michael
Seal managed the rapport with the
orchestra beautifully, with distinguished
contributions from the horns and cor
anglais. Shostakovich’s Ninth Symphony
gave the Sinfonia players every opportunity
to show what a fine band they are and,
in a strongly characterised reading, the
composer’s wit and humour sparkled, with
all woodwind (especially the bassoons)
excelling in the jokiness of the final
Allegretto.
Collaboration with the Housman Society
brought Roderick Williams to BROMSGROVE
Page 10
CONCERTS, in a recital celebrating the
poet’s 150th birthday in mid-October.
Strangers to song repertoire might have
thought that an evening devoted to settings
of Housman would be hard to sustain, but
the quite wonderful artistry of Roderick
Williams, and his sensitive partner, Susie
Allan, gave the audience one of the most
satisfying recitals imaginable. Dividing the
programme into themes, one was able to
see how varied composers’ approach to the
resonance of Housman’s concise nostalgic
verse differed. We had Death and Beyond,
in which punchy settings by Richard Sisson,
one of four composers present, showed
a real affinity for the medium. The Folly
of Love brought us into the traditional
territory of Butterworth, Somervell and
Finzi. Hardy’s I said to love and Clandestine
Seduction featured two striking songs by
another contemporary composer present,
Martin Bussey. Roderick Williams sang the
whole programme from memory. His diction
and communication with the audience were
a model for any young singer. For good
measure, in a Call of the Bells section,
he threw in his own dramatic setting of
Housman’s grimly realistic Eight o’Clock.
It was good to hear the talented
wind principals of the BIRMINGHAM
PHILHARMONIC ORCHESTRA taking the
limelight, in Mozart’s Sinfonia Concertante,
at the Adrian Boult Hall on 18 October.
Balance may not always have been ideal
– might it have been better for the soloists
to stand? – but each soloist, Anne Hagyard,
Alastair Moseley, Martyn Jones and Mike
Syrett, showed distinctive tone and
technical assurance in this beguiling work.
Guest conductor, Marco Romano, coaxed
sympathetic support from the orchestra,
and the lightness of touch, shown in the
final, jaunty variation movement, made
this performance a joy. The concert
had opened with a brilliant account of
Rossini’s Silken Ladder overture, a real
orchestral showpiece, and concluded with
a magisterial performance of Beethoven’s
Eroica Symphony, which once more
demonstrated what an abundance of talent
there is in our Midland musical scene.
 Obituary - GILL MILLER
With great sadness we have to report the sudden death, in December, of Making
Music West Midlands’ Chairman, Gill Miller. She had fallen down her stairs, but,
though shaken and bruised, appeared unharmed. Sadly, Gill died a few days later.
Early divorce had meant that she had had to raise her children as a single parent.
Despite this, Gill had a successful career in Social Services, and by the time she
retired she was manager of a large staff.
Retirement meant more time to pursue her interests, amongst which was travel.
A year ago, with her partner, Robin Brighton, she visited Egypt, and later, in the
spring, South Africa. Proudly acknowledging that she was an OAP (i.e. Over Active
Person), she organised a singing group – The Rocking Grannies. She was one of the
principal organisers/fixers of the Worcester Concert Club. She loved to play the
piano, despite the painful nuisance of arthritis.
When Gill joined the Committee of MMWM, her enthusiasm for all things
musical became rapidly apparent. She was interested in and supportive of all
the Committee’s ventures. As Chairman, she was quick to recognise where
improvements were needed. For 2010 she was planning innovations, with the aim
of improving the skills of Committee members.
Gill was an open-minded, kind, tolerant person. She will be greatly missed, and the
amateur music scene in the West Midlands is the poorer for her passing.

Paper publication of Network is to cease

This is the last paper edition of Network.

The Making Music Board of Directors have decided that the rising cost of printing and post-
age makes prohibitive the production and distribution of all regional newsletters. After this
issue, Network will only be available in digital, pdf, form. The change to electronic distri-
bution is probably a very necessary saving. This decision, however, will equally affect the
Concert Diary, which will also only be produced in pdf form in future.

Ironically, at the last Regional Committee Meeting we spent some time in discussion, before
deciding to print future editions of Network in colour, because they look so good. We have
not yet discussed the new format, and considered the best way of presenting regional news.
However, even though the newsletter will continue to be produced in colour, if you wish to
print in greyscale, to save expensive colour ink, please adjust your printer settings to suit.

A further decision, made at the same Board Meeting, was to launch a new amalgamated
web site for Making Music. Each regional committee will have its own sub-domain within the
national site, which will save hosting, domain name and maintenance costs. Each regional
sub-domain should be easily navigable from the main site.

In future, all groups and individuals on the MM West Midlands database will receive their
copy as an e-mail with a pdf attachment. Please note that we are more than happy to send
email copies to any, or all, of your members. You may, though, prefer to forward our emailed
attachment to members of your group. In any case, please confirm which email addresses we
should use for our mailing. That information should be sent to the Editor -
brilar@brilar.demon.co.uk

Page 11
 Regional Development Officer’s Column
A date for your diary
Open Evening: Tues 19 Jan 2010 6.00 - 7.30pm,
Oakengates Theatre, near Telford
Come out for a twilight gathering where we can
meet, discuss our successes and challenges,
share ideas with like-minded people, and find
out the latest developments in the region.
If you want to attend, just contact me now
with your name and your group name. Groups
who have yet to join Making Music are welcome
to come along.
2010-11 Plans
The Return of the Small Grant
In 2010-11, we shall have a round of small
grants. We will give more detail in the ebulletin
and on the website. This time, we will run a
similar application process, but are allowing
a bit more time for groups to complete their
activity. Also, we’ll expect to see a digital
component to your activity; photos, video and
website interactivity will help groups share
their successes with others.
Micaela Schmitz 01386 576 582 micaela@makingmusic org uk
Croome Court wants you!
Making Music hopes to team up with Croome
Court, with performance and presentation
opportunities! This National Trust property
has huge potential, with plenty of performing
space. We hope to encourage and support
groups to perform or run participatory activities
there. We are thinking of running a special day
in August 2010. Watch this space!
Health and Harmonie
Members of HARMONIE CONCERT BAND are
continuing to share their music at the Marie
Curie Hospice; they shared carols and joined
in a special holiday luncheon. In addition, the
SELLY PARK SINGERS visited two care homes
in their area to share Christmas cheer. We
hope to hear soon about some public funding
applications for running more work in health
facilities.
My weblog continues to list funding and training
events at http://micaela11.wordpress.com

MMWM Regional Committee 2010

Acting Chairman/Webmaster: Mike Spencer Chandos Symphony Orchestra T: 01299 266 346
Secretary: Bernard Hall-Mancey Bromsgrove Concerts T: 01527 836 147
Treasurer: Robin Boothby Worcester Concert Club T: 01684 565 402
Regional Development Officer: Micaela Schmitz T: 01386 576 582
Network Editor: Brian Jones Barnt Green Choral Society T: 01527 873 164
Concert Diary Editor: Sue Peters Sinfonia of Birmingham T: 0121 453 2898

Committee Members: MAKING MUSIC OFFICE

Alma Bright Clarke Redditch Choral Society
Janet Carr Stafford Choral Society
John Dunn Stafford Sinfonia
John Ellis WM Barbershop Harmony Club
Thelma Foster Shrewsbury Choral Society
Jane Nicholls Chandos Symphony Orchestra
Malcolm Rowson Warwickshire Symph Orchestra
David Snaith Worcester Philharmonic Orchestra
Mike Syrett Birmingham Philharmonic Orchestra
Sheena Williams MM First Call Director
REGIONAL WEBSITE
www.makingmusic.org.uk/westmidlands
Making Music
The National Federation of Music Societies
2 - 4 Great Eastern Street
LONDON EC2A 3NW
T: 020 7422 8280
F: 020 7422 8299
E: info@makingmusic.org.uk
Making Music is a company, limited by guaran-
tee, registered no. 308632; registered charity
no. 249219
DISCLAIMER
Any views or opinions expressed in contributed
articles may not necessarily represent those of
Making Music, or the policy of Making Music.

DEADLINE Network is available in large print.

The next deadline for contributions to
Network is April 15
Please phone Making Music
020 7422 8280
Network is printed by GLINT PRINT 01299 266 657